introduction an outstanding example of international co-operation, with a team of British

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2 In today s recording studios, producers and engineers constantly face new challenges from projects of ever-increasing sophistication. Multitrack recorders and additional audio sources continue to push up the number of channels needed for tracking and mixdown. Film surround-sound, video, DVD, digital television and other media create new mix formats, while high-performance digital signal processors and other studio devices make ever-greater demands on the sonic fidelity of the entire audio chain. The result of these pressures is that recording engineers and producers face a dilemma. With budgets and time scales continually constrained, how can the demand for recordings that are always more dynamic and more creative be satisfied? For many, the solution has been to rely on available technology as a The need to complete projects to near-impossible deadlines means that studios must be able to move rapidly from one complex set-up to another without sacrificing flexibility or creative options. practical expedient, rather than a matter of considered preference. With little time for evaluation and experimentation, exciting new technologies have remained comparatively under-exploited, with the result that engineers are deprived of the opportunity to exercise their creative talents to the full. introduction The Sony OXF-R3 Console represents a solution to this dilemma. Its development has been Using proprietary Sony developed digital signal processing throughout, the OXF-R3 is a large-scale console with a compact control surface that puts enormous power and flexibility within easy reach of the engineer. The choice of leading studios around the world, the OXF-R3 has established a formidable reputation for its immaculate sound quality quality that has been made possible through the achievement of exceptional engineering design standards. an outstanding example of international co-operation, with a team of British console designers based in Oxford, England, working in close partnership with Japanese engineers in Atsugi, Japan. The OXF-R3 enables studios to make the transition from With its ground breaking design founded in traditional concepts and mixing methodology, the OXF-R3 unites an easy-to-learn, ergonomic control surface with radically advanced digital technology. As such it makes all the benefits of ultra-modern technology readily accessible to today s studio professionals. the knob-per-function approach of giant analogue consoles to an assignable design that provides major advantages.what is remarkable about the OXF-R3 is the ease with which this transition can be made.

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5 contents OXF-R3 IN ACTION THE SONY 24-BIT PRODUCTION SYSTEM DESIGN PHILOSOPHY SYSTEM OVERVIEW MULTI-FORMAT AND MONITORING Multi-format Panning SESSION MANAGEMENT Session Management Machine Control Automation Offline Edit Audition Merge Snapshots Recalling Mixes and Snapshots Copy Link Jog/Shuttle wheel 7 9 CONSOLE SIGNAL FLOW CHANNEL SIGNAL FLOW 21 ABOUT THE SYSTEM Hardware Interconnection digital audio 10 CHANNEL ROUTING 23 SPECIFICATIONS AUX SENDS DYNAMICS AND FREE ASSIGN EQ AND FILTERS OXF-R3 CONVERTER TECHNOLOGY DIAGNOSTICS/SUPPORT mixing console FADER PAGING/SELECTION MASTER FACILITIES Master and Stereo Monitors Aux Sends and Group Masters 1

6 Digison, Paris, France All Mobile Video High Definition Truck NY, USA OXF-R3 in action sound for pictures The OXF-R3 system is highly flexible, easy to operate and able to deliver vast processing power. Systems are being used for a wide range of audio production applications including music production, film scoring, DVD soundtrack production and live broadcasts. As many studio owners plan to upgrade their facilities to surround sound, the decision to install an OXF-R3 will allow them to extend their business horizons. Key features for TV/film post production Key features for broadcast production Support of all film and TV mixing formats Support of all TV sound formats Multi-system processing Simple and fast to operate Fully dynamic automation Comprehensive copy and link function for channel processing Time code based snapshot and mix merge Compact control surface with large scale processing Off-line editing of automation Snapshot recall including internal patch routing Motorised joystick panners Remote I/O racks via optional fibre links Comprehensive monitor management Highly configurable analogue and digital I/O Perfect machine mode for machine control Comprehensive broadcast logic Cue based machine control Kansai Telecasting Corporation, Osaka, Japan 2

7 Sony Music, NY, USA Sound Studio N, Cologne, Germany Wally World Studios, San Rafael, CA Photography by Steve Jennings music production Key features for music production Exemplary sound quality The Hit Factory, New York City, NY, USA 24 Aux sends Photography by David King 5 band equaliser, 4 section dynamics section 1.2 second programmable delay 48 and 96 track mixdown modes Simple and fast to operate control surface MIDI interfacing to external devices MIDI Beat and Bars automation time reference True digital varispeed GML 8200/8900 emulation (optional) Direct interfacing to Sony PCM-3348HR Real World Studios, Box, UK Guillaume Tell Studios, Paris, France Photography by François Jannin 3

8 Welcome to the Sony 24-bit Production System: a production platform that offers dramatically increased dynamic range and brings the fidelity of digital signals closer still to the original source. Combined with high quality A to D conversion, the Sony full 24-bit system allows studios to capture more of the artist s creative performance. In the production chain, this quality advantage is maintained the consumer, as well, stands to benefit dramatically. Much of the audio information contained in the extended 24-bit word length can be retained when signals are translated to lower resolution formats (CD, MiniDisc etc.) using processes such as Sony Super Bit Mapping. The end result is that listeners in the home can enjoy the many benefits of the Sony 24-bit system. the sony 24-bit production system < Remote control World Sync > < MADI I/F (24-bit) > Sony PCM-3348HR 48-track Digital Recorder OXF-R3 24-bit family 4

9 The OXF-R3 is the realisation of a commitment by Sony to provide a digital console that truly addresses the challenging needs of the contemporary audio production process. Its architecture, which is software defined, provides ample resources for large-scale tracking and mixing sessions and can readily support virtually any digital multitrack recorder, including the Sony PCM-3348HR 48-track. The OXF-R3 operates with analogue 24-track recorders and interfaces to a wide range of digital and analogue outboard signal processors and other peripheral equipment found in today s recording studios. The OXF-R3 has been created around a philosophy known as positive assignability. This results in a console with a highly compact control surface that places all the controls for a very large number of channels within easy reach of the recording engineer. In addition to making operation intuitive and easy to master, this approach provides the added benefit that the engineer can operate all console functions without having to move outside the critical listening area. Fader paging is made an operational priority all faders use linear motors, providing extremely smooth and long-lasting operation. design philosophy OXF-R3 Control Surface simple and intuitive to operate Simple navigation of the console s control surface is of paramount importance, and the ergonomic design of the OXF-R3 employs a distinctive visual language to differentiate between control functions. With assignability reducing the console s control count, pressure on space is reduced so controls can be larger and tailored for optimal feel and resolution. This overcomes one of the major problems of traditional analogue consoles, where the need for increasing functionality results in an ever more crowded control layout. In the OXF-R3, consistency between types of control sets has been carefully matched to enhance the ease of use. Full-colour GUIs have been introduced for a number of important reasons. Primarily, they enable large amounts of visual information to be presented unambiguously and controlled by the user without recourse to complex computer-like commands or repetitive mouse moves. Making efficient use of panel space, they enable EQ and dynamics curves to be displayed and adjusted with the aid of associated soft keys. Output routing and the internal patch bay can also be set up quickly and intuitively, with a separate central GUI handling control of overall Session Management functions. While the overwhelming majority of functions are controlled directly via the console s control surface, a QWERTY keyboard and conveniently placed tracker balls are also provided for text entry and other functions requiring alphanumeric input, such as track and session names. 5

10 system overview Its all-digital architecture means that the OXF-R3 requires just two simple cables to connect its control surface to the signal processor rack and the host computer rack. Audio inputs and outputs are connected to the I/O racks which, in turn, are linked to the signal processor rack via industry standard connections. This allows the I/O and processor racks to be placed remotely from the console s control surface, affording additional installation flexibility and allowing the console to be installed even where control room space is at a premium. The OXF-R3 accepts external SMPTE/EBU time code and external word clock. The console has the important ability to chase the external word clock over the varispeed range of ±12.5%. The control surface configuration featured in this brochure has 48 channel faders (24 on each side), 16 group faders (in the centre) and two complete input modules (one on each side of the console surface). This is referred to as a 24C24. An alternative configuration has 24 channel faders with only one input module. This is the 24C (pictured here). This version has all the processing functionality of the bigger version, but is only 1.62 m (63 7 / 8 inches) wide. The OXF-R3 24C - version Control Panel OXF-R3 6

11 Thanks to its revolutionary all-digital architecture, the processing power of the OXF-R3 is immense, enabling simultaneous EQ and dynamics control of all input channels. The control surface uses traditional function names for ease of use, while the signal paths incredible flexibility provides the broadest possible palette of creative options. Studio signals are connected to the console s I/O racks, which can be configured with analogue input cards, analogue output cards and digital I/O cards. The audio from digital multitrack devices can be interfaced using a wide range of audio formats. console signal flow The OXF-R3 includes an internal digital patch bay that allows input and output signals to be assigned flexibly to the console s processing channels. As with all of the routing and control settings, these crosspoints can be saved as snapshots and later recalled. The console offers a mixdown capability of 120 signals. These comprise 96 Full channels (equivalent to the analogue mixer s in-line module) and 12 Stereo Return channels provided for sound sources such as reverb returns. All input channels can be routed to the 24 Aux Send Busses, 8 Stereo Sub-Groups (SSGs) and the Main Stereo Bus. The Full channels can also be routed to the 48 Multitrack Busses. The phenomenal audio processing power of the OXF-R3 (EQ, dynamics, etc.) is available on all channels and at all times because of the Fixed Assignment allocation of processing resources. The internal processing architecture offers greatly extended dynamic range and headroom due to the use of a 32-bit internal bus structure. Insert points, either analogue or digital, are available on the input channels, Stereo Sub-groups signal flow and the Main stereo outputs. Monitoring options are comprehensive. Separate outputs for three sets of control room speakers, two sets of studio speakers and four sets of stereo foldback feeds are provided for stereo mixing and monitoring. Comprehensive Talkback and Slate functions are available as well as AFL, PFL and in-place Solo Listening modes. In the Multiformat mode, the console uses groups of user-selectable Multitrack Busses as the Master Outputs (or stems), while the Stereo Sub-group Busses become the basis of a comprehensive multiformat monitor system. 7

12 FULL CH SELECTOR 1 SELECTORS 2-7 SELECTOR 8 MIC M/T LINE L MIC L LINE R MIC R LINE Ø Ø Ø STEREO RETURN CH Ø Ø Ø Ø SELECTOR 1 SELECTORS 2-7 SELECTOR 8 SELECTOR 1 SELECTORS 2-7 SELECTOR 8 BYPASS FILTERS 5 BAND EQ DYNAMICS INSERT DELAY FX FADER MULTITRACK FUTURE SP BYPASS 3 BAND EQ DYNAMICS INSERT DELAY FX FADER FUTURE SP BYPASS 3 BAND EQ DYNAMICS INSERT DELAY FX FADER FUTURE SP MAIN O/P L & R SSGs 1-8 MULTI-FORMAT PANNING 2-7 WAY 48 MULTITRACK SENDS & RETURNS CUE/AUXILIARY SENDS 1-24 MAIN O/P L & R SSGs 1-8 CUE / AUXILIARY SENDS 1-24 MAIN O/P L & R BUSSES 8 STEREO SUB-GROUP BUSSES (Used for MULTI-FORMAT MONITOR) 48 MULTITRACK BUSSES (Used for UP TO 8 MULTI-CHANNEL STEMS) CUE/AUXILIARY SENDS STEREO EXTERNAL SOURCE MONITOR INPUTS 6 X 8 MULTI-FORMAT EXTERNAL SOURCE MONITOR INPUTS SOLO AFL PFL TALKBACK MONITOR SECTION MAIN CONTROL ROOM MONITOR LS LS 2 LS 3 8 MULTI-FORMAT LS OUTPUTS STUDIO LS 1 STUDIO LS 2 4 STEREO FOLDBACK OUTPUTS 6 TALKBACK OUTPUTS TO RIGHT CH SIGNAL PATH Mono/Stereo/Main Meters OXF-R3 signal flow The console metering bridge allows the metering of input and output signals, as well as the 48 multitrack send and return signals. The meters are referenced to 0 dbfs scale, with a 0 to -60 dbfs scales provided on all meters, with an additional switchable 0 to -90 dbfs scale also available on all mono meters. 8

13 The OXF-R3 uses an Input Channel & Inserts panel to configure the audio processing and signal flow for each of the input channels. Each channel has eight processing boxes that allow the audio processing blocks (e.g. EQ, dynamics, etc.) to be connected in any order. This permits a high level of flexibility, as each channel can be individually set up for a specific task. Comprehensive Copy modes, together with Snapshot Save and Load functions, allow the complete console to be set up in custom configurations simply and quickly. The following processing blocks are available for the Full and Stereo Return channels: EQ DYN DELAY MULTI FILTER FADER INSERT Full Channels 5 band *C/L/E/G Yes Yes HP/LP Yes Yes Stereo Returns 3 band *C/G Yes Yes Yes *The compressor ratio goes to infinity:1 channel signal flow MAIN L & R In the table above, Multitracking is achieved with the MULTI block. This provides access to the 48 Multitrack Busses via the multitrack fader, pan and group trim controls. It also activates the Send/Return CH INPUT SEND RETURN PAN CH OUTPUT Monitoring function. The OXF-R3 can also operate in a broadcast mode where it generates a stereo on-air mix along with a parallel multitrack output, with simultaneous provision for a multitrack confidence check. ø GAIN EQ DELAY FILTER DYN INSERT FADER refers to the channel fader. Normally this is not allocated to one of the boxes, but positioned after it. However it can be positioned in one of the boxes to provide post fader processing (e.g. to facilitate a post fader limiter or other process). The INSERT block is used in conjunction with the system I/O GUIs CHANNEL FADER Signal flow mixdown with processing in to route the channels insert send and return signals to selected I/O connectors. the channel path Aux Sends can be selected from the 11 discrete positions in the channel path. These are post the input gain control, post boxes 1 to 8, post the multitrack send level controls and post the channel fader. This provides greatly enhanced functionality compared to the pre/post fader selection on traditional analogue mixers. Input and Inserts Panel 9

14 Multi-format/Routing Panel channel routing The OXF-R3 has 48 Multitrack Busses with access from all of the 96 Full input channels, as well as the Stereo Sub-Groups and the Main Stereo Bus output. The console distributes the 48 Multitrack Busses to two DASH machines via dual dedicated multitrack MADI outputs. 96-channel, dual-dash mixdown is also accommodated by two dedicated multitrack MADI return ports. The OXF-R3 has the familiar Send, Return and Record switches above each channel fader for multitrack monitoring and track arming. An Overdub Monitoring mode can also be selected by pressing both Send and Return. In the Multiformat mode, the operator selects groups of multitrack busses as the multiformat output stems. For speed of operation, the multiformat stems are labeled A to H and output routing is mapped to the eight switches at the top of the Routing panel, which are laid out to reflect the multiformat speaker positions. Routing mode GUI 10

15 aux sends The OXF-R3 has 24 Aux Send Busses that are accessible from all of the mono and stereo input channels. Adjacent odd and even Aux Sends can be linked to form stereo pairs for cue or stereo reverb outputs. In the Stereo mode, the even numbered Aux Send level controls function as pan controls. For each channel, the contribution to each of the 24 Aux Sends can be selected from pre or post any of the channel processing blocks. This gives an option of 11 pick-off points for each Aux Send from each individual channel. Aux Sends are controlled either from the Sends 1-24 panel or by mapping the Aux Send controls to the faders or pan rotary controls. It is also possible to copy the channel fader/pan balance to any Aux aux sends Sends 1-24 Panel Send an extremely quick way to set up headphone balances. The Aux Send Master controls are located in the centre section. 11

16 The Dynamics Processors for the Full channels have four, entirely independent, sections compressor, expander, limiter and gate. These act together at a single point in the channel path. The Stereo Return channels feature the compression and gating sections. The compressor can also act as a limiter by setting its ratio to infinity:1. Each of these sections has appropriate control of threshold, ratio/range, attack, hold, release and gain make up, variable knee and side-chain EQ. Extensive side-chain linking functions are also provided. This gives unprecedented control over dynamics. All parameters are controlled from the Free Assign Area & Dynamics panel and displayed on the associated colour graphical screen. Free Assign Area & Dynamics Panel Dynamics setting dynamics Three types of compressor are provided as standard; Normal, Custom, and Classic. Normal and Classic provide comprehensive control of the compression function, while Custom has fewer adjustments and is quicker to set up. Digital dynamics processing provides highly accurate, repeatable gain reduction and extreme ranges of control parameters. For example, the limiter can be set to zero attack time and the hold time for the gate can be set to 10 seconds. The panel also features gain reduction metering for each section. A stereo compressor is also available on the Main stereo output. Dynamics mode GUI showing the optional DMSK-R3001 Software The optional DMSK-R3001 software provides an emulation of the GML 8900 dynamics processor. It is easy to link and key dynamics processing between channels, as the OXF-R3 supports both Link to Neighbour and Side-Chain Busses. These Side-Chain Busses allow dynamics grouping of non-adjacent channels, as well as providing keying effects. 12

17 Free Assign Area & Dynamics Panel Side Chain setting The dynamics section also has a side-chain EQ with two fully parametric bands. This EQ can be used for frequency conscious dynamics processing (de-essing, for example) and/or it can be inserted into the channel signal path, making a total of seven, fully parametric EQ bands available for each Full channel. MIDI control interface Recording and mixing complex projects invariably requires extensive use of outboard signal processing devices and many of these devices have MIDI control interfacing. The OXF-R3 can control MIDI devices directly from the Free Assign Panel. This allows the operator to remain in the critical listen area while adjusting external devices. Dynamic adjustments can be saved, recalled and edited along with the rest of the automation data. Programmable Delay One of the major features of the OXF-R3 is its channel delay function that allows highly sophisticated digital delay effects to be created individually for each channel, freeing external processing devices for other tasks. This delay also reduces the time and effort expended in patching devices into the signal chain and assures the maximum possible audio quality. Each channel has a separately programmable delay with adjustment of delay time, direct/effect and regeneration. The maximum delay time for each channel is 1.2 seconds, adjustable with coarse and fine controls with resolution down to a single sample. The delay can be displayed as time, samples, distance (both feet/inches and metres) and beats per minutes. The delay length can also be set using tap tempo, where the system automatically calculates the delay required to match musical periods. free The delay is designed to assign be used both a creative effect, for example a slap-back echo or to compensate for timing between different microphone positions. Free Assign Area & Dynamics Panel Delay setting

18 Equaliser & Filter Panel eq and filters As standard, the OXF-R3 offers five-band, fully parametric, EQ with separate HP and LP filter sections on Full input channels. The Stereo Return channels have three-band EQ. Several modes are supported, featuring different relationships between factor and gain. The optional DMSK-R3001 Software emulates the GML 8200 equaliser. The EQ and filters are controlled from the dedicated Equaliser & Filters panel and the resulting frequency curve is displayed on the associated GUI. The panel is designed to be very intuitive and fast to operate, with individual switches and rotaries for every EQ and filter function. 14 The standard EQ is extremely powerful, with the gain of all bands fully adjustable over a range of ±20 db and with Q adjustable between 0.5 and 16. Frequency ranges are carefully selected for each band, creating an extremely musical device equally capable of delivering subtle or radical tonal changes with any source material. The OXF-R3 permits EQ parameter changes to be made smoothly and evenly with an analogue console-like feel. This glitch-free performance is made possible by real-time parameter interpolation that prevents abrupt steps in the response of the console s EQ sections. The Low and High bands can switch between Bell and Shelving profiles. In the Shelving mode, the Q control changes to provide an overshoot/undershoot control mimicking the response of popular outboard EQ devices. The console is supplied with two EQ memories for every channel, selected from the A and B switches on the panel. These memories allow the operator to experiment, without losing the previous settings. During mixing an alternate EQ can be recalled either manually or by the console automation. The EQ Range control allows the limits of cut and boost on each Dynamic automation of the EQ and filters provides new creative tools channel to be adjusted between ±20 db and 0 db. As with all other for the studio. For example, the operator can de-ess a vocal by controls on the console, this adjustment is completely glitch-free dynamically automating the high frequency band against time code. which permits complete EQ settings to be ramped in and out. The EQ Range control also allows the cut and boost limits to be reduced thereby increasing the resolution for ultra-fine adjustment. The High and Low Pass filters on the Full channels are also highly versatile. The cut-off frequency is continuously variable and the filter slope can be selected between 6 db/octave and 36 db/octave in 6 db steps. Standard EQ mode GUI Optional DMSK-R3001 Software EQ mode GUI

19 Fader Panel Select to Faders Panel Pan Panel Select to Pans Panel fader paging/selection The OXF-R3 Fader Paging and Select To Faders functions are essential parts of the console s positive approach to assignability. The channel faders can be paged in banks of 24, independently on the left and right sides of the console. This allows control of all 108 channel faders from either side, so two people can operate the console. There are 64 physical faders for mixdown on the 24C24 control surface with the other channels only one button away. The faders and cut switches can control all 30 of the critical level adjustments in the channel path, including input gain, multitrack send, group trim, multitrack monitor, Aux Send levels, sub bass and channel level. These are mapped to the channel faders assignability by the Select to Fader switches. In addition to panning, the Pan rotary can also control all of the above level adjustments, with the exception of sub bass. This allows the console to mimic the style of in-line and split analogue consoles. The ability to call the Aux Sends to the faders allows headphone balances to be mixed on full-length faders. Pan controls and fader automation switches are also assigned to the Aux Sends. To help make quick headphone balances, the channel fader monitor mix can be quickly copied to any of the Aux Sends. In addition fader balances can be copied to multitrack send faders, allowing stereo mixes to become the basis for multi-format mixes. Each fader has two, six-character alpha-numeric displays and the pan control has an additional display. These displays have several modes including channel number, programmable channel name and level or pan value. The primary role of the Access switches above and below the Fader/Pan sections is to call channels on to the assignable input module. However the upper switch can also be used for Quick Copy of channel parameters and the lower switch can be used for linking channel control. 15

20 The Master Facilities of the OXF-R3 have been designed to supply comprehensive programme and monitor outputs. These include eight Stereo Sub-groups, 24 Aux Send Masters, Main stereo output, control room monitoring, studio monitor, external meter outputs and four sets of headphone foldback feeds. master facilities The central fader always controls the Main stereo output and can simultaneously acts as a master level control for multiformat outputs. Additional processing is available for the Main stereo output, including compression and EQ, as well as routing to an insert point and the ability to route the stereo mix back to the multitrack. The Main stereo output, Stereo Sub-groups and Aux Sends can feed either analogue or AES/EBU signals. And all digital outputs can be individually dithered to different word lengths (16, 20 and 24 bits). The Main stereo output is distributed to four separate analogue and/or digital outputs. master and stereo monitors Master Facilities Panel There are a total of nine stereo monitor outputs, three stereo control room monitors, two stereo studio outputs and four stereo foldback feeds. The control room and studio monitors can be selected between the Main stereo output, the dedicated multitrack monitor bus and nine external stereo sources. The operator can select and/or mix up to six of these signals at any time. It is also possible to listen to different signals in the control room and studio or, for security, the control room monitor can be locked to the Main stereo output. The four foldback outputs are supplied for headphone feeds and can be sourced from the Aux Sends or the Main stereo output. To assist in setting up headphone balances, the front armrest on the console has convenient headphone jacks that can be wired into the studio s foldback monitoring system. Comprehensive talkback facilities are provided including slate, talkback to foldbacks and talkback to studio monitors. The OXF-R3 has two programmable talkback groups as well as an auto-cue function that enables the second talkback group whenever the multitrack machine is not in Play or Record. 16 Three oscillators are provided with fully variable frequency and level. One of these provides tone to internal signal paths. The second provides an external analogue output and the third a digital output.

21 Select to Faders, Group Faders and Main Fader Panels aux sends and group masters Following the same logical approach as the Select To Faders on the Send Outputs and Stereo channel faders, the two banks of group faders can be switched to Sub-group Panels function as the Aux Send Masters, the Stereo Sub-group outputs or the 32 Control Group Masters. Two alpha-numeric displays are provided to show information that includes level, group name and send name. The control groups can manage any combination of channel faders on hidden and non-hidden fader pages. The The 24 Aux Send Masters also have a dedicated control section that provides control control groups also provide Cut of AFL and Cut, as well as the stereo linking of adjacent Aux Sends. While the large and Solo functionality. number of Aux Send outputs provides ample mixing outputs, the Multitrack Busses are also available for use with additional effects processors. Below the Send Outputs 1-24 panel is the Stereo Sub-groups section with Level, Cut, Solo and AFL. The Stereo Sub-groups can be used to create mix-minus outputs, clean feeds or music-only mixes. The Stereo Sub-groups can be routed separately out of the console, returned to the Main outputs or routed to the Multitrack busses. In the Multiformat mode, the Stereo Sub-groups function as the multiformat Monitor Busses. The internal electronic patching system allows the Aux Send and Stereo Sub-group signals to be routed to either analogue or AES/EBU output connectors.

22 Multistem, Surround Sound Processing The OXF-R3 is capable of sophisticated, multistem surround processing with film-style monitoring control. Multiformat processing is set up on the panel below the Stereo Sub-groups. The operator simply selects the desired mode from LCRS, 5.1 and SDDS and then configures up to eight stems from any combination of the 48 Multitrack Busses. Each of the eight stems is designated by a letter (A to H), for example music stem 5.1A, effects 5.1B, dialogue 5.1C, etc.multiformat multi-format and monitoring Multitrack Panel Multi-format Monitoring Panel Multistem Mode GUI Panning and Sub Bass Level The multitrack Send pan control switches to match the selected mode (i.e., 4, 5 or 7-way panner). Panning is controlled by two adjustable assignable controls with separate modes for front pan, front to back pan, surround pan and divergence. Motorised joystick panners add even greater control over multiformat panning. The sub bass level is adjusted from the faders using the Select to Fader function. Multiformat Monitoring The multiformat monitor control GUI, in conjunction with the transport control switches, provides comprehensive monitor management of the eight stems. Monitor control of multiple stems can be mapped on to each of the four sets of switches. Functions include Pec/Direct switching (ie, stem based Send/Return), Cut, Solo and Hold. The monitor function can be interfaced to an external monitor control panel using an optional GPI control interface. 18

23 Session Management Session Management is at the heart of the OXF-R3, encompassing machine control, project management, house keeping and automation functions. Session Management is controlled from the central screen, soft keys and associated keyboards. The data is stored on the host computer s internal hard disk drive and backups are stored to the ISO standard, 540 MByte removable MO disk. The OXF-R3 system uses a powerful database to manage project data and housekeeping functions. Project data is stored in a hierarchical file structure of Projects/Artists, Titles, Mixes and Cues. Session details and text-based notes can be saved for each Project, Title, Mix and Snapshot. Housekeeping functions include user lists, studio snapshots and password security for client project data. The system can use either Time Code or MIDI tempo maps as the timing reference. Cue lists can be created for each title, with either time stamps or Beats and Bars displayed. MIDI tempo maps can be created by loading MIDI.ARR files via the host computer s floppy drive, a tap tempo function or programmed directly from the Session Management keyboard. session management Session Management command keyboard Automation As would be expected from a console of such power and flexibility, the OXF-R3 gives the user the power to automate all useful controls dynamically at any time during the session. Using the familiar Absolute and Trim modes, each control can be dropped into Automation Write mode. The Absolute mode allows new dynamic data to be written, while the Trim mode allows previously recorded movements to be modified. The operator can also select various Drop In and Drop Out modes, including Touch Write, Global In/Out, Butt, Ramp, Auto Take, To Front and To End modes. To display automation modes, every rotary control and fader has two LED indicators, red for Absolute and green for Trim. Machine Control Each new Mix Pass is recorded into RAM (Random Access Memory), The OXF-R3 provides multi-machine synchronisation, and offsets for enabling multiple Undo s and Redo s of all the Passes back to the last the master and slave machines can be set using the Remotes GUI of saved Mix. The data in RAM can be saved at any time to the host the Session Manager screen. The Command keyboard provides a fast computer s hard disk drive, either as a new Mix or as an update over method for controlling regularly used transport functions, for example an existing Mix. Each Mix includes a complete console snapshot of Session Management Mix & Cues GUIs, Locate Title, Cycle Cue 2 to Cue 4, etc. current control settings as well as all dynamic control movements. showing alternative timing references (Time Code and MIDI) 19

24 Offline edit Faders and Cut switches can be edited on the Offline GUI, either creating new absolute data or trimming existing data. The offline edited data is added to the current Pass in RAM so allowing Undo and Redo facilities. Audition The Audition mode enables individual automated controls to be adjusted from their automated playback state to a new setting. Once a new position is found, the settings can be dropped in from the desired point. Merge The Merge function enables new automation Passes to be created by cutting and pasting other Mixes or Snapshots, this is edited on the Merge GUI. Time code points for the edit can either be entered manually or selected from the cue list. Cross fades and butt joins are available for each of the edited in and out points. The result becomes a new Mix Pass, again allowing for Undo and Redo facilities. Snapshots Set-ups of the console can be saved and restored using the Snapshot function, enabling instant resets of any settings. These are stored on internal disk or backed up on to the removable MO disk. Snapshots are stored under three categories, Artist/Project, Studio or User. The User category features password protection and allows each operator to store personal set-ups. session management Snapshot Mode GUI 20 Recalling Mixes and Snapshots The Copy function provides a fast, convenient method of setting up Snapshots and Mixes can be recalled for the entire console, or partial the console, as one channel path can be configured and then simply Mixes and Snapshots can be loaded for a range of channels and copied across to all other channels. The Copy function also has many controls. This allows new Mixes to be created from the combination of other uses, such as setting the same EQ across a number of lead previous Mixes. For example in film soundtrack production, a new vocal tracks. The Copy function handles both static channel settings dialogue mix can be combined with the music and effects Mixes. The and dynamic automation data. Automation Isolate mode temporarily disables dynamic automation for selected channels. Link Copy dynamic automation With all the possible parameter settings and changes supported within each channel path of the OXF-R3, the Copy function is invaluable, removing the need to make time-consuming settings to several channels individually. It allows control parameters to be copied between selected channels and is further enhanced by a copy mask that selects the types of controls to be copied. The Access switch above the faders is used for the quick copy function. Copy is also supported on the Session Management GUI. The Link function allows multiple channels to be controlled simultaneously from the assignable control panels. Almost all the channel parameters can be linked together with either the same value or with an offset. Any channel in the Link group will control all others members. This function is enhanced by the Link Mask that allows the operator to select the controls that are to be linked (for example these could be EQ, dynamics and fader only or the whole channel). Typical use of this function would be to link two mono channels for a stereo input signal where all changes made to either side of the stereo must affect both channels. The Link group is set up by using the Access switches below the faders. Merge Mode GUI Jog/Shuttle wheel The Jog/Shuttle wheel can be used for a range of functions that includes transport control, data entry and list scrolling. Its default function is transport control and it can be selected to Jog, Shuttle and Crawl (slow speed shuttle). The wheel can also adjust parameters in selected fields on session management GUIs.

25 The OXF-R3 consists of five main hardware components: control surface SP (Signal Processing) rack I/O racks host computer machine control peripherals Actual processing of digital audio signals takes place exclusively within the I/O and SP racks of the OXF-R3. This approach means that the audio signals are handled with maximum precision and are totally immune to external interference. The console s control surface thus acts purely as an interface between the user, the host computer and processing sub-systems. The talkback output is the only audio signal that passes through the control surface. The system racks are connected to the control surface by just two cables. Compared to traditional analogue consoles, the OXF-R3 is significantly easier to install as it is around 50% of the weight of traditional analogue designs and the control surface is delivered in three sections for ease of transportation and installation. (The 24C version is delivered in only two sections). Power consumption is also dramatically lower than most analogue designs, affording additional cost savings and low heat dissipation. about the system hardware Normally the SP rack and host computer are located in the machine room. This reduces operational noise and thermal dissipation, and minimises the console s footprint where space in the control room is at a premium. The SP rack contains 16 signal processing cards, delivering a total of 10 GOPS (Giga Operations Per Second) of audio processing power. The system can be configured with eight MADI loops for interfacing with I/O racks and recorders. Signal Processor Rack Machine Control Analogue I/O MADI AES/EBU I/O Each I/O rack contains 10 I/O card slots that can accept analogue input, analogue output, AES/EBU and SDIF I/O cards. Each system also includes a time code card and a GPI card. The configuration of the I/O racks depends on the particular requirements of the studio, with I/O Rack I/O Rack Mics most systems employing at least four racks with appropriate cards installed. MADI is used to interface the I/O racks to the SP rack; this can be either via a cost saving 75 ohm coaxial cable or optical fibre. Machine control peripherals are supplied with the OXF-R3, facilitating straightforward interfacing with the console and virtually any recording transport. 21

26 Transport Control Panel about the system interconnection The OXF-R3 supports a powerful interface to Sony DASH/DASH PLUS machines, including the PCM-3348 and PCM-3348HR 48-track recorders. The multitrack busses can be dithered to 16, 20 or 24 bits depending on the resolution of the recorder. Sony has used industry-standard interfacing protocols for audio and control signals, so almost any professional audio device can be simply connected to the console. The OXF-R3 can be referenced to an external word clock supplied directly from a Sony DASH machine or virtually any other appropriate device, and can stay locked to an external reference even if it is varispeeded. Pans Panel showing SEND RET(urn) and RECORD multitrack interface buttons 22

27 Temperature Range Power Requirements Input Channels Busses, Master Inputs & Outputs Analogue I/O Digital I/O Session Management System System For complete system performance: 10 C to 35 C (50 F to 95 F) Operating temperature: 5 C to 40 C (41 F to 104 F) OXF-CP3048 Control Panel AC 100 to 240 V, 50/60 Hz, 500 W x 2, 7.5 A x 2 OXF-CP3024 Control Panel AC 100 to 240 V, 50/60 Hz, 500 W, 7.5 A OXF-SP3000 SP Rack Japan: AC 100 V, 50/60 Hz, 750 W USA/Canada: AC 120 V, 50/60 Hz, 750 W, 10 A Other countries: AC 220 to 240 V, 50/60 Hz, 700 W, 5 A OXF-IO3000 I/O Rack Japan: AC 100V, 50/60 Hz, 240 W USA/Canada: AC 120 V, 50/60 Hz, 240 W, 3 A Other countries: AC 220 to 240 V, 50/60 Hz, 240 W, 2 A 96 Full Mono Channels 12 Stereo Return Channels Main Stereo Bus Output 8 Stereo Sub-Group Bus outputs 24 Send Bus outputs (switchable to up to 12 stereo outputs) 48 Multitrack Busses 3 Stereo Control Room Monitor LS outputs 2 Studio LS outputs with individual talkback insertion 4 Stereo Foldback Group outputs with Individual talkback insertion Up to 9 Stereo External Source inputs 4 ADCs per module with separate Mic and Line inputs (DMBK-R3001) 8 ADCs per module with eight combined Mic/Line inputs (DMBK-R3003) 4 DACs per module for main output and monitor applications (DMBK-R3002) 8 DACs per module for effect sends, etc (DMBK-R3004) MADI for 2 MTRs to be connected directly to the SP Rack AES/EBU, 4 stereo inputs and outputs per module SDIF-2, 24 inputs and outputs per module Control and storage of data for Projects, Titles, Mixes, Snapshots and Cue points Fully integrated dynamic automation including machine control Mix and set-up data easily transferred between systems using ISO 540 MByte MO Time code, 9-pin and DASH/DASH PLUS REC Ready specifications general 23

28 DMBK-R3001/R3002/R3003/R3004 DMBK-R3001 (4-ch ADC) DMBK-R3003 (8-ch ADC) Gain Control Mic: -20 db to +80 db relative to op level in 1 db steps Mic: -20 db to +80 db relative to op level in 1 db steps Line: -30 db to +20 db relative to op level in 1 db steps Line: -30 db to +20 db relative to op level in 1 db steps Input Impedance Mic: 1.5 kω or 100 k switchable Mic: 100 kω Line: 16 kω Line: 16 kω Frequency Response 20 Hz to 20 khz ±0.2 db 20 Hz to 20 khz ± 0.2 db Distortion 0 dbfs: <-96 dbfs (0.005% THD+N) 0 dbfs: <-96 dbfs (0.005% THD+N) -20 dbfs: Harmonic content -115 dbfs -20 dbfs: Harmonic content -115 dbfs specifications audio performance Note Wherever db values are specified, the following conventions apply: 0 dbu V r.m.s. reference 0 dbm 1 mw (0.775 V r.m.s.) into 600 Ω dbfs referenced to digital full scale dbr referenced to max. analogue operating level db referenced to unity gain * Noise figures are measured with a bandwidth from 20 Hz to 20 khz Sample Rates 44.1 khz to 48 khz ± 12.5% (The OXF-R3 always requires an external BNC audio word clock) -50 dbfs: Harmonic content <-135 dbfs -50 dbfs: Harmonic content <-120 dbfs Noise Floor Mic: <-125 dbu Equivalent Input Noise Mic: <-125 dbu Equivalent Input Noise (Zin = 200 Ω, Gain = 80 db) (Zin = 200 Ω, Gain = 80 db) Line: -108 dbfs Gain Control at 0 db Line: -105 dbfs Gain Control at 0 db Crosstalk <-90 dbfs, 20 Hz to 20 khz <-90 dbfs, 20 Hz to 20 khz CMRR Mic: 45 db, 20 Hz to 20 khz (Gain = 0 db) Mic: 45 db, 20 Hz to 20 khz (Gain = 0 db) 110 db, 20 Hz to 20 khz (Gain = 80 db) 110 db, 20 Hz to 20 khz (Gain = 80 db) Line: 50 db, 20 Hz to 20 khz (Gain = 0 db) Line: 50 db, 20 Hz to 20 khz (Gain = 0 db) Phantom Power Supply Mic: DC 48 V individually switched Mic: DC 48 V individually switched DMBK-R3002 (4-ch DAC) DMBK-R3004 (8-ch DAC) Output Type Electronically floating Electronically balanced Performance identical in bal.and unbal. modes Maximum Output +24 dbu +24 dbu into balanced load +20 dbu into unbalanced load Output Level Control -16 dbu to +24 dbu set by console menu +14 dbu to +24 dbu set by trimmer on module Equivalent Source Impedance <10 Ω <100 Ω Output Balance 20 Hz to 20 khz, 60 db (0.1%) 20 Hz to 20 khz, 46dB (0.5%) Minimum Load 300 Ω 300 Ω Frequency Fs 48 khz 20 Hz to 20 khz ±0.2 db 20 Hz to 20 khz ±0.2 db Output Noise <109 db (ref +24 dbu) <104 db (ref +24 dbu) Crosstalk <-100 dbfs, 20 Hz to 20 khz <-100 dbfs, 20 Hz to 20 khz 24

29 DMSK-R3001 GML 8200 Emulation Software Channel Equaliser and Filters SECTION GAIN FREQUENCY Q/SLOPE LF Peak/Shelf ±20 db 15 to 800 Hz 0.4 to 10 LMF ±20 db 16 to 800 Hz 0.4 to 10 MF ±20 db 120 Hz to 8 khz 0.4 to 10 HMF ±20 db 400 Hz to 26 khz* 0.1 to 10 HF Peak/Shelf ±20 db 400 Hz to 26 khz* 0.4 to 10 *simulated SECTION GAIN FREQUENCY Q/SLOPE OVERSHOOT LF Filter -6 db steps 20 to 200 Hz 0 to 36 db/oct LF Peak/Shelf ±20 db 20 to 400 Hz 0.5 to 16 0 to 50% (Q adjust:shelf) LMF ±20 db 30 to 600 Hz 0.5 to 16 MF ±20 db 100 Hz to 6 khz 0.5 to 16 HMF ±20 db 600 Hz to 18 khz 0.5 to 16 HF Peak/Shelf ±20 db 2 to 20 khz 0.5 to 16 0 to 50% (Q adjust:shelf) HF Filter -6 db steps 2 to 20 khz 6 to 36 db/oct Dynamics Dynamics Gain Reduction: All levels in this table are referenced to full scale and time constants apply to a 10 db gain change. The time constant marked * denotes a calculated value for 10 db gain change since the true figure is 40 db gain change in 20.8 µs (1 sample). SECTION THRESHOLD RATIO/RANGE ATTACK HOLD RELEASE Gate -80 to 0 db 0 to -80 db 5 µs* to 26 ms 10 ms to 10 s 7.8 to 519 ms Expander -60 to 0 db 1:1 to 1:16, 0 to -80 db 260 µs to 104 ms 10 ms to 20 s 5.2 to 519 ms Limiter -60 to 0 db 1:1 to 1000:1 519 µs to 52 ms 10 ms to 30 s 52 ms to 3.1 s Compressor -20 to 0 db 100 µs to 500 ms 50 ms to 30 s 100 ms to 10 s GAIN MAKE-UP SOFT CURVES Compressor 0 to 24 db 5 db, 10 db, 15 db, 20 db across Threshold Dynamics Side-Chain EQ: 2-band side-chain EQ can be inserted into the Dynamics Side-Chain alone the Signal Path alone both the Side-Chain and the Signal Path SECTION GAIN FREQUENCY Q/SLOPE LF Peak ±20 db 20 Hz to 1 khz 0.5 to 16 HF Peak ±20 db 500 Hz to 20 khz 0.5 to 16 25

30 I/O Rack System Dimensions and Mass I/O MODULE INPUTS OUTPUTS CON. TYPE NOTES 4-ch ADC (DMBK-R3001) 4 Mic, 4 Line* 8 XLR db Dynamic Range** 8-ch ADC (DMBK-R3003) 8 Mic/Line 8 XLR db Dynamic Range** 4-ch DAC (DMBK-R3002) 4 Line 4 XLR db Dynamic Range** 8-ch DAC (DMBK-R3004) 8 Line 8 XLR db Dynamic Range** AES/EBU I/O (DMBK-R3008) 4 Stereo 4 Stereo 4 XLR-3-31/4 XLR-3-32 SDIF-2 I/O (DBMK-R3007) 24 Mono 24 Mono D-type TC I/O (DMBK-R3009) Time code Time code 1 XLR-3-31/1 XLR-3-32 GPI (DMBK-R3010) REC Tally In REC Ready 2 Half-pitch 100-pin Relay (30 ma) (opto-isolator) Relay closure 1 D-sub 25-pin Opto (Max. 30 V) EQUIPMENT WIDTH HEIGHT DEPTH MASS OXF-CP3048 Control Panel 2516 mm mm mm 382 kg 99 1/8 inches 41 1/4 inches 47 7/8 inches 842 lb 3 oz OXF-CP3024 Control Panel 1620 mm mm mm 221 kg 63 7/8 inches 41 1/4 inches 47 7/8 inches 487 lb 4 oz OXF-SP3000 SP Rack mm 666 mm 604 mm 60 kg 19 inches 26 1/4 inches (15 U) 23 7/8 inches 132 lb 4 oz OXF-IO3000 I/O Rack 482 mm 310 mm mm 25 kg 19 inches 12 1/4 inches (7 U) 19 1/2 inches 55 lb 2 oz *Mic and Line In cannot be used simultaneously **Best case signal to noise performance The I/O system for the OXF-R3 utilises a universal rack design to house both analogue and digital I/O. Each Supplied Accessories Product Identities rack requires AC mains power. Each I/O rack contains 1 I/O link card module and up to 10 device card Operation Manual (1) Product Number Model Name modules such as ADCs, DACs etc. Installation Manual (1) DMSK-R3096 Digital Console Software IF-581A for Host Computer (1) DMSK-R3001 GML 8200/8900 Emulation Software MADI Connections MADI connections are made directly to the SP Rack without the need for I/O Racks. MADI IN 56 MADI OUT 56 Con. Type 2 BNC 75 Ω (2 Optical) Max. I/O Configurations Figures shown are the maximum for each I/O module type per system (in version 2.1 software). It should be noted that the total number of audio connections (analogue or digital) should not exceed: I/O TYPE MAXIMUM MAXIMUM NO. OF MODULES BY TYPE Analogue In ch ADC, 39 8-ch ADC Analogue Out ch DAC, 39 8-ch DAC AES/EBU I/O 312 IN/80 OUT 39 (IN & OUT on the same module) GPIO 64 1 (IN & OUT on the same module) MADI I/O 112 IN/96 OUT 2 Connections (Direct to SP Rack) AC Power Cord (2) for OXF-CP3048 AC Power Cord (1) for OXF-CP3024 PCI Cable (1) for OXF-SP3000 AC Power Cord (1) for OXF-SP3000 AC Power Cord (1) for OXF-IO3000 DASH format breakout cables for DMBK-R3010 Optional Accessories DMBK-R3011 Producer s Desk DMBK-R3012 Speaker Stand OXF-CP3048 OXF-CP3024 OXF-SP3000 OXF-IO3000 DMBK-R3001 DMBK-R3002 DMBK-R3003 DMBK-R3004 DMBK-R3005 DMBK-R3006 DMBK-R3007 DMBK-R3008 DMBK-R3009 Control Panel Control Panel SP Rack I/O Rack Mic/Line A/D Converter Monitor D/A Converter Line A/D Converter Line D/A Converter SP Board SP Link Board SDIF-2 Board AES/EBU D I/O Board Time code Board 26 Each I/O Rack can have up to a maximum of 56 Audio Inputs and Outputs, analogue or digital. DMBK-R3010 DMBK-R3011 DMBK-R3012 GPI Control Board Producer s Desk Speaker Stand

31 24C24 (OXF-CP3048) Control Surface OXF-SP3000 SP Rack 32.2 mm (1 5/16 ") mm (41 1/4 ") mm (19 ") 466 mm (18 3/8 ") 73 mm (2 7/8 ") mm (4 3/8 ") mm (5 1/2 ") mm (6 ") mm (10 1/2 ") mm (47 7/8 ") 555 mm (21 7/8 ") mm (28 7/8 ") mm (6 3/8 ") 2516 mm (99 1/8 ") 96 mm (3 7/8 ") 44 mm (1 3/4 ") 70 mm (2 7/8 ") mm (33 3/4 ") mm (19 3/4 ") 666 mm (26 1/4 ") mm (15 1/4 ") 299 mm (11 7/8 ") 959 mm (37 7/8 ") 959 mm (37 7/8 ") 299 mm (11 7/8 ") mm (6 3/8 ") 37.7 mm (1 1/2 ") 71.1 mm (2 7/8 ") 340 mm (13 1/2 ") 71.1 mm (2 7/8 ") 7.5 mm (5/16 ") 27.7 mm (1 1/8 ") 71.9 mm (2 7/8 ") 430 mm (17 ") 604 mm (23 7/8 ") 74 mm (3 ") 140 mm (5 5/8 ") 32.2 mm (1 5/16 ") mm (41 1/4 ") mm (47 7/8 ") 555 mm (21 7/8 ") mm (28 7/8 ") 482 mm (19 ") 465 mm (18 3/8 ") 73 mm (2 7/8 ") mm (10 3/8 ") 1620 mm (63 7/8 ") mm (33 3/4 ") mm (19 3/4 ") 37.5 mm (1 1/2 ") 235 mm (9 3/8 ") 310 mm (12 1/4 ") 384 mm (15 1/8 ") 27.5 mm 72 mm 346 mm (13 5/8 ") 423 mm (16 3/4 ") (1 1/8 ") (2 7/8 ") 450 mm (17 3/4 ") 17 mm mm (19 1/2 ") (11/16 ") 23.5 mm (15/16 ") 155 mm (6 1/8 ") 299 mm (11 7/8 ") 1022 mm (40 1/4 ") 299 mm (11 7/8 ") 24C (OXC-CP3024) Control Surface OXF-IO3000 I/O Rack 27